NerdyGirl has excellent: scripting & performance
She creates her own performances from her home studio to match themed blog posts.
Relying on the jumpcut
A jump cut is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly if at all. This type of edit gives the effect of jumping forwards in time. It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead. This kind of cut abruptly communicates the passing of time as opposed to the more seamless dissolve heavily used in films predating Jean-Luc Godard’s Breathless, when jump cuts were first used extensively. For this reason, jump cuts, while not seen as inherently bad, are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing. Jump cuts, in contrast, draw attention to the constructed nature of the film.~Wikipedia
Developing a brand past the jumpcut
The budget was limited to home production, and timelines for publishing were very short. I developed a media library of sound effects, transitions, lower thirds and other video elements to distract from the jump cut transition. Just because you’re working on a budget doesn’t mean you can’t finish with good quality. Nerdygirl was producing her video with a low-cost SLR. I guided her in building a quality audio chain to go with the relatively high quality picture modern SLR’s are capable of producing.
Tools of the Trade:
- Professional color grading:
- correction and theme development
- Active Graphic Transitions
- keeping a sense of speed and urgency
- Fun sound effects and themes
Nerdygirl’s animated and high-speed performances create the foundation for the graphics and sound effects to accentuate. We achieved high efficiency edits by building a shared media library of transitions, effects, and soundtracks. The remote work from cloud based shared files allowed same day turnaround for hot projects, as well as midnight editing sessions.
Georges Méliès is known as the father of the jump cut as a result of having discovered it accidentally, and then using it to simulate magical tricks; however, he tried to make the cut appear seamless to complement his illusions. Dziga Vertof’s avant-garde Russian film Man With a Movie Camera (1929) is almost entirely composed of jump cuts. Contemporary use of the jump cut stems from its appearance in the work of Jean-Luc Godard (at the suggestion of Jean-Pierre Melville) and other filmmakers of the French New Wave of the late 1950s and 1960s. In Godard’s ground-breaking Breathless (1960), for example, he cut together shots of Jean Seberg riding in a convertible (see image) in such a way that the discontinuity between shots is emphasized and its jarring effect deliberate.Wikipedia